nordicwinter-desolation

Review from Aristocrazia Webzine

Wed, 07 Apr 2021 18:15:13 +0100

From: Aristocrazia Webzine

Published: April 7, 2021

Yves Allaire è uno che il metallo estremo lo pratica in lungo e in largo da un bel pezzo, ormai, tanto che i suoi primi vagiti maligni risalgono nientemeno che al 1991, quando suonava la chitarra nei deathster Dead Society. Ma è solo dal 2007 che è tornato a farsi sentire su disco, firmandosi Evillair e col progetto Nordicwinter; di acqua sotto i ponti ne è passata parecchia e di mezzo c’è stato anche un trasloco dall’Ontario al Québec, uno dei fulcri del black metal post-2000. È proprio in Québec, e più precisamente nella cittadina frontaliera di Saint-Eustache, che Desolation ha preso forma come terzo album di una discografia che va infittendosi nel giro di pochissimo tempo (il precedente Requiem è dell’aprile del 2020, mentre il successivo Sorrow è uscito il 26 marzo del 2021). Per la cronaca: quella che ho fra le mani è la ristampa Hypnotic Dirge uscita a gennaio 2021.

Iperattività che non sembra spaventare Evillair, che con un ritmo di pubblicazione simile è evidentemente molto sicuro della sua creatura, e lo è, in parte, a ragione. Sì perché pur non presentando delle sostanziali novità, il black metal atmosferico e dal taglio depressive di Desolation si fa apprezzare prima di tutto per la durata contenuta (si ferma sotto i quaranta minuti), e in secondo luogo per la capacità del canadese di evocare atmosfere malinconiche, a tratti perfino dimesse, pur mantenendo una potenza sonora abbastanza sopra le righe. Nordicwinter riesce proprio nel coniugare emozioni fra il disagio e l’afflizione con un impianto musicale maestoso, come testimoniano gli otto minuti di “Forest Of Despair”, il brano d’apertura, che con un crescendo drammatico ci porta in un regno solitario e grandioso. “A Shadow’s Veil” è più dinamica e fa il paio con la foresta immersa nella foschia, le cime degli alberi emergono tra folate di aria umida così come i fraseggi di chitarra di Evillair, che disegnano melodie evanescenti. Proprio la melodia è, insieme alle urla disumane e quasi indistinguibili, un elemento caratterizzante la musica di Nordicwinter, che nonostante il malessere generale riesce a suonare sognante e a tenerti incollato a lei. “All That Remains” è un inno alla disperazione la cui sfuriata finale ci introduce alla schizofrenica “Tomb Of Silence”, in un precario equilibrio fatto di pause improvvise e altrettante repentine mitragliate.

Desolation è un disco massiccio ma molto godibile, che sicuramente suonerebbe meglio con un batterista in carne e ossa, piuttosto che con la drum machine un po’ plasticosa (comunque ben programmata) di Evillair. Spero che Nordicwinter non entri in quel vortice di sovraproduzione che ha rovinato più di una band, e continui a dispensare male di vivere con questa classe.

Reviewed by: VACVVM

Review from Metal Temple

Fri, 26 Feb 2021 21:05:33 +0100

From: Metal Temple

Published: February 15, 2021

Original Link

Call me jaded, but when I read a band bio that drops multiple names of bands as points of reference particularly when that list is composed of über elite names. Such was obviously the case with NORDICWINTER as the bio stated that the album is recommended for fans of XASTHUR, FORGOTTEN TOMB, and SHINING, among others. That certainly is quite the company to keep and of course, expectations are thus set high. NORDICWINTER is a one-man project aimed at evoking the sorrow within, embracing the suffering of this existence. Hailing from frigid Quebec must aid in the atmosphere for after a thirteen year hiatus, NORDICWINTER released two full lengths this past year including “Desolation,” the subject of this review. Committed to imbibing the music with the utmost objectivity, I thus resign to block the part of my brain that keeps issuing signals flashing “XASTHUR,” “FORGOTTEN TOMB,” and “SHINING,” three of my favorite bands.

“Forest of Despair” opens the album on a somber note. An extremely melancholic though melodic beginning almost suggests MY DYING BRIDE or even classic ANATHEMA. It is a grandiose beginning, one that sets the table for momentous revelations. Alternating between that distinct British Doom feel and a more mid-paced Black Metal section, a powerful momentum is established, one that ensures the eight-minute track becomes fully ingrained in the listening experience, absorbing one into that black, cold void.

The instrumentation employed aids in the immersion. From the resonant cleans to powerful minor chords soaked in distortion, the variety of guitar tracks is an essential component. With such a plethora of guitar sounds, the magic happens when they are stacked on top of each chord for as such, the sound only becomes bigger, exponentially so on a grander scale. As a one-man project, that unifying vision ties everything together as each sound becomes purposeful.

It is with the second track, “A Shadow’s Veil,” that the album really gets going. The emotion underlying the atmosphere is diverse from a feeling of longing to desperation and ultimate absolution. Perhaps the album’s title, “Desolation,” is a most fitting one for it would be difficult to offer another example of perfectly capturing that persisting insomnia of grief and sorrow, that frantic panic of loss that stabs at the heart more violently as time goes on. Time does not heal all wounds but rather, they seem to fester with a lingering infection that does not abate. “In Solitude,” the third track, extends this trip elaborating on an already vivid rendering of the all-too-real feeling of being utterly alone.

The detractors who say that listening to “depressive music” is just wallowing in one’s grief completely miss the point of artistic catharsis. By channeling those feelings, they are dealt with head on, processed by the brain’s indelible knack for separating the experience from the memory. It may be like picking at a scab for some, but for others, it is as rewarding as intensive physical therapy following injury. I think over the course of this review that I have accounted for my initial trepidation. Yes, NORDICWINTER has impressed me and the comparisons were indeed spot-on; however, they do not account for the unique color of NORDICWINTER’s music. There are deep Black Metal roots here, but this album transcends a mere genre label as it provides a thoroughly absorbing experience, an epic album that feels like a journey across the expanse of human emotion.

Rating: 8/10

Reviewed by: Chris Hawkins

Review from Ave Noctum

Thu, 04 Feb 2021 21:23:12 +0100

From: Ave Noctum

Published: February 1, 2021

Original Link

Enchanting and mesmerising, captivating and thought provoking all in equal measures. This is black metal but done on a higher plateau. Nordicwinter have blasted out of the barren wilderness of the Canadian frozen landscapes and have delivered us a package which generates layers of intricacy and technical brilliance in amongst the carved out frozen vistas and ice capped melodies. ‘Desolation’ truly is depressive and atmospheric black metal at its finest, and is all created by the sole mind that is Evillair, a solitary figure amongst the complex and layered backbone of this, the latest Nordicwinter release

‘Forest Of Despair’ is enthralling and beautiful in its make-up. Much of the track is constructed by peaceful harmony’s and a soul which is made up of piano segments and guitar chords which lead the way for demonic and raucous ‘traditional’’ black metal vocals, spat out with conviction and power, the contrast on show is demanding of your attention and it doesn’t let your mind wander from the opening chords to the closing beats.

‘A Shadow’s Veil’ opens with the six strings treading the path for us to follow before more malevolent and vitriolic vocals join the fray and conjure up more images of the frost ridden inhospitable landscapes. The vocals leave the guitars to conjure up more majesty and decadence before some whispered spoken words add to the atmosphere and darkened beauty. A guitar solo ripples through the rhythm chord led background and the vocals turn to the more immoral style to end the track, a true conflict working in tandem to create a genuinely exquisite piece of art.

‘In Solitude’ fades in before the vocals haunt us once more. The lyrics seem to be told with more honesty and belief than previously witnessed, could this be down to the chugging guitar work allowing the vocals to fly free and be more freelance than on the previous songs, I am not sure, all I know is that they seem to be told with more heart and passion which summons the faith to believe. Mid track, the direction and flow seems to turn on its heels and inject another gripping and mesmeric guitar solo before reverting to the previously seen string and oral work.

‘Fall To Ruin’ is a striking and scenic instrumental, absolute perfection and a guiding light amongst the bleak and desolate siblings. It is genuine precision.

We are led back to the second half of the album with a stark wake-up call by the name of ‘All That Remains’, vicious and venomous vocals along with muddy, dirty and filthy debauchery. ‘All That Remains’ carves us open to a quicker tempo than on previous tracks and this only adds to the captivating journey we have embarked on. Your eardrums seem to be battered from the aural rioting prevailing from the north winds and your soul is being torn and ripped from your very being with this track of out and out ferocity before it comes to an all too soon abrupt ending as it fades out to leave the way for the penultimate track to batter you some more.

‘Tomb Of Silence’ opens in a sombre mood and creates even more of an atmosphere with piano chords sitting atop of swirling winds and an almost orchestral soundtrack. This has the most depth of all the tracks on the album and the vocals seem to be out to prove a point. They are venomous beyond belief and create an immoral and obnoxious lead to the down tuned score sitting behind them. There does not seem to be a vision or a definite end goal for this track, it just seems content to tread water and blast you with rancorous and virulent interludes amongst the scenic and striking melodic segments.

The album is closed with another immersive piano led instrumental, haunting and evocative, perfection to leave you feeling battered and bruised and with so many questions unanswered in your own mind.

This is one to spark a flame and light a burning fire to, grab a double shot of whatever your own personal choice of poison is and sit beneath the starry night sky and lose yourself to this charismatic slab of genius. This is one to genuinely absorb into your soul and one that will sincerely warrant a decent amount of reflection upon completion.

Rating: 9/10

Reviewed by: Phil Pountney

Review from Metal Brothers

Tue, 26 Jan 2021 00:05:19 +0100

From: Metal Brothers

Published: January 25, 2021

Original Link

Ya sabemos que el Quebec es una región canadiense donde no paran de aflorar buenas bandas, sobre todo dentro del terreno del Black Metal, un Black Metal amigo de la mezcla de estilos, muy atmosférico y con toque progresivo. Pues precisamente de esta prolífica cantera sale una nueva banda, Nordicwinter, se trata de un proyecto individual creado en el 2006 y al año siguiente sacó su primer disco. Tuvieron que pasar trece años para que volviera a sacar disco, en concreto dos. Hoy os hablo del álbum “Desolation” que sacó de forma independiente en junio. Ahora ese álbum sale publicado el 15 de enero del 2021 a través del sello Hypnotic Dirge Recordings.

Saboreamos el sentimiento, esa es la mejor definición posible para hablar de la labor de Yves Allaire alias “Evillair” de 49 años. Este veterano músico recrea un Black típico de esta zona. Lo primero a comentar es su voz, la voz gutural que tiene es muy expresiva, tanto puede sonar oscura como desesperada y es que es pura teatralidad.

Pero lo que más destaca y sin duda alguna, es la gran variedad de riffs que saca de su chistera y los solos de guitarra, siempre limpios, unos más veloces otros más pausados pero siempre muy metaleros y con mucho sentimiento, es ahí donde marca la diferencia de forma muy notoria.

Es un viaje dramático en ocasiones, en otras emotivo, me alegro que un sello apueste por este artista porque ya lleva muchos años haciendo las cosas muy bien.

El futuro del Black Metal está en estos proyectos individuales y en lo que va de año, al hacer el Top 40 mejores álbumes internacionales para Metalbrothers.es, añadimos un par de proyectos individuales de Black. Si tuviera que compararlo con otros artistas pues diría que tiene un cierto parecido al Black francés en cuanto a melodía se refiere y es que no hay que olvidar que el Quebec canadiense está muy influenciado por la cultura francesa.

Reviewed by: Hombre Rancio

Review from Blessed Altar Zine

Tue, 19 Jan 2021 18:12:10 +0100

From: Blessed Altar Zine

Published: January 18, 2021

Original Link

I believed the horrid year that was 2020 was gone by now, but surely it still lingers. My most recent pick for review appears to have been released in June last year, so I decided to give the year one more chance to make it up to me in the form of the Canadian Nordicwinter and as previous mentioned, the last year released album “Desolation”. It was a nice change too, since it seems like I have been doing a lot of EPs lately however this is a full-length album, the third in line for this artist since the first release in 2007.

The start of the intro track was soothing. “Forest of Despair” Clean electric guitar, pianos playing along, the whole arrangement represents beauty braded with a saddened tone before turning to more of a metal way although keeping the melodies and atmosphere which keeps it interesting as well as relevant throughout the listening process. The intro of the following track however, “A Shadow´s veil” is fully distorted while keeping the pace and vibe of the previous track. The pleasant listening experience it gives can be traced to the unique beauty of the harmonized melodies, double bass drumming and guitars. The shrieking distant vocals make it impossible to hear what the words are, and honestly at first, I expected something far more depressive or even chaotic. This is well written, easy listening metal.

The first of two instrumental tracks on this album is “Fall to Ruin”. I love instrumentals, I don’t know exactly why, perhaps it has something to do with the easier way to connect with music when vocals are absent. The lurking sound surely is not missing, sort of makes you expect something to happen at every bar of the track which suits this one well as a middle mark of the album and therefor creates a nice balance to it. Arrival of orchestration and backing guitars give a grand sound to the following track “All that Remains” with following aggressive segments that gives a nice weigh with the more atmospheric sound.

“Tomb of Silence” doesn’t seem like it should have much audio in it, but it did prove me wrong. The haunting feel of a windy sample with the guitars chiming in is even more appropriate than just silence and followed by the second instrumental “Last Rites” which implements together both the bass side of a piano as well as the brighter side. The naked sound serves as an appropriate closer to this work. It also ends quickly, leaving the listener with that saddened feel from which this whole album was created around.

For anyone liking metal, this album is very listening friendly and easy to get into. Of course, the red thread throughout the whole thing is depressive and melancholic, but the tracks are created with melodies and atmosphere in mind, sounding more beautiful and grand than anything else. I think I would prefer the later half of the album; the tracks are more diverse within themselves but overall, I salute this work.

Rating: 8/10

Reviewed by: Julia Katrin

Review from FemForgacs

Tue, 19 Jan 2021 18:10:18 +0100

From: FemForgacs

Published: January 13, 2021

Original Link

Kisgyermekként egy reggel arra ébredtem, hogy kint hatalmas hó van. Hideg, arcba maró szél táncoltatta az apró gyémántport a fehér takaró tetején és tudtam, ez nem lesz kifogás az iskolába menetet illetően sem. Megfogtam az óvodás kisöcsém kezét és elindultunk abban a szűkös járatban, amit a legelső emberek tapostak maguknak. Jobbra-balra vakító falak vettek körül és eszembe jutott, hogy milyen szörnyű vége lenne a világnak, ha mindent ellepne ez a tisztaságot sugárzó, mégis halálos burok. Ha az élő mind kihűlne és beledermedne abba a csendbe, ami akkor körülvett. Manapság, amikor az állandó ősz korszakát éljük, sokkal inkább attól tartok, hogy az én gyerekem már nem biztos, hogy tudni fogja, mi az a hó. Szép lassan beérik a több száz éve megkezdett emberi munka és nincs már messze az a generáció, ami teljesen tisztában van azzal, hogy utódainak nem biztosított itt a jövő. Ez a gondolat talán még a halálnál is kényelmetlenebb, hiszen mindenkiben ott van a kép, hogy családja körében, nagy sírások mellett búcsúzik el a világtól, miközben azzal vigasztalja magát, hogy ők majd életben tartják az emlékeikben. Pedig a halál magányos folyamat, aminek az első lépése a születés. Aki korán hal, rengeteget veszít, aki pedig hosszú életet él és látja elhullani majd’ minden szerettét, már életében megtapasztalja a poklot. Csak a remény tud tovább hajtani, űzni minket az úton, itt, a felnőttlét közepén éppúgy, mint egykor azon a reggelen. Talán azóta tudom, érzem, igénylem, hogy időnként valaminek üvegesre kell fagyasztania a szívem, zúzmarával borítania a lelkem, hogy az élet apró, sokszor láthatatlan finomságai újra és újra felolvaszthassák.

Valós hideg helyett kiváló alkalmat nyújtott erre a közelmúltban a kanadai egyszemélyes projekt, a Nordicwinter ezidáig utolsó kiadványa, a Desolation. Bár kapcsolatunk, ahogy azt tőlem olvasni szoktátok gyakran, nem indult zökkenőmentesen. Szokás szerint a felszínesség csapdájába estem és a zenekar nevét olvasva, logóját meglátva ugrottam is a következő promóciós anyagra. Ugyan már, néha tényleg elég az északi télből meg a kórós betűkből, hiszen a black metal jelenleg az egyik legtúlzsúfoltabb extrém zenei közeg. Azonban egy nap úgy ébredtem, hogy ezekre a betűkre és erre a borítóra, erre a zenére van szükségem. Evillair nem okozott csalódást az elvárásaimhoz képest, ráadásul kutakodás közben még közös pontot is felfedeztem az életünk során. A multihangszeres, énekes arc jelenleg a Graven Dusk, Kalseroth zenekarok környékén keresendő, de egy évtizeddel ezelőtt köze volt a Dark Covenant nevű formáció megalapításához, ami a kanadai Candlemass lehetett volna, ha nem tűnik el egyetlen album után. De most nem búslakodni, hanem csonttá dermedni álltunk neki épp, aminek első lépcsőfoka a Forest Of Despair című tétel meghallgatása. Atmoszferikus, depresszív black metal anyag révén nem lepődtem meg a lassú, zongorás felvezetésen, aminek azért jócskán akad hangulata, viszont az már figyelemre méltóbb volt, hogy Evillair milyen dallamokat és érzéseket karcolt bele ebbe a törékeny, mégis tekintélyt parancsoló jégrétegbe. A hangzás tartja az indító hőmérséklet szintjét, miközben keringőbe kezdünk egy tűlevelű erdő közepén. A folytatásban érkező A Shadow’s Veil ehhez képest jóval egyszerűbben, minimalista módon kalauzol el minket a tipikusnak mondható depresszív fekete fém mezejére, akárcsak az In Solitude. Alapvető eszközeik használatával mégis képesek megidézni valami nem e világi hangulatot, ami fenségesebb és tiszteletre méltóbb a halandó embernél.

A rövidre méretezett Fall The Ruin című instrumentális tétel nyomdokaiban érkezik a személyes kedvencem, az All That Remains, amiben az eddig kisebb szerepet kapó, de annál jelentősebb gitárszóló most tényleg megkapja a neki járó helyet. Nem virtuóz, nem tolakodó, csupán kézzel foghatóbbá teszi mindazt, ami eddig is ott volt az orrunk előtt, csupán a köd sűrűjébe burkolózott. Ennek sötétebb verziója a szintén hangszeres és rövid záró darabot megelőző Tomb Of Silence, ahol néhány doom metalos riff is tiszteletét teszi, de kétség kívül ez a lemez érzelmileg legmélyebb pontja.

Rating: 8.5/10

Reviewed by: Találó

Review from The Kill Chain

Wed, 13 Jan 2021 00:56:35 +0100

From: The Kill Chain

Published: January 11, 2021

Original Link

Originally released last summer, the third album from Canadian depressive black metaller Nordicwinter ‘Desolation’ sees a rerelease on CD through Hypnotic Dirge Records in January, a perfect time of the year for cold and bleak music.

Opener ‘Forest of Despair’ meets you with cold clean tones and slowly builds into a gloomy, slow paced buzz where a haunted shriek echoes from beneath a burying fog. The music saps your energy, leaving you feeling cold and alone, and there’s parts of the shadowy ‘In Solitude’ that you begin to feel truly lost in the album’s dark journey. What also deserves a lot of praise is that even though the songs are generally quite long they’re nowhere near long enough for you to lose your attention on them. The ehavier moments of ‘All That Remains’ transitioning into the cold clean tones again and then back is probably my favourite moment here. It maintains the weight but adds a fragility which is apparent throughout and comes into play in the (almost hopeful) ‘Tomb of Silence’.

My only criticism is that some songs do that almost immediate fadeout at the end, rather than either an abrupt obvious stop or a longer fadeout. It is a tiny nitpick though, and it barely detracts from the excellent work here. Nordicwinter really captures the true bleakness of the wintry north, and suck the joy and hope from the air around you. Grab ‘Desolation’ before the perfect weather for this sort of misery dissipates.

Reviewed by: Sandre the Giant